Max (1883) Ernst Paintings & Artwork for Sale | Max (1883) Ernst Art Value Price Guide

Nov. 29, 2024
Ernst, Max: Schwester Loni sitzend
Est: €2,600 - €3,500
Schwester Loni sitzend 2 Kompositionen, recto/verso. Bleistift auf Velin. Um 1913. 18,3 x 11,5 cm. Recto unten rechts mit Bleistift signiert "Max Ernst". Spies-Metken 150 (Abb. S. 76). Die ungelenken Beine der Siebenjährigen baumeln zentral in der Darstellung, Kopf und Hals sind dafür abgeschnitten. Mit dieser Verschiebung seines Fokus deutet sich bereits der ungewöhnliche Blick des jungen Künstlers an, der seine jüngste Schwester Apollonia (genannt Loni) um das Jahr 1913 zeichnet. Spontan und sicher erfasst er die Gestalt des Mädchens, während sich recto die sitzende weibliche Gestalt in variierenden, dichten Parallelschraffuren formuliert. Bereits kurz zuvor, 1912, hatte er, zu dieser Zeit noch in Bonn Altphilologie, Philosophie, Psychologie und Kunstgeschichte studierend, seine erste Ausstellung in der Galerie Feldmann in Köln und beteiligte sich 1913 an der Ausstellung "Rheinische Expressionisten" in Bonn sowie am Ersten Deutschen Herbstsalon in Waldens Berliner Galerie "Der Sturm". - Provenienz: Hauswedell & Nolte, Hamburg, Auktion 11.06.2010, Lot 208 - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Bassenge Auctions
May. 11, 2024
Ernst, Max. Ohne Titel. Farbige
Est: €22,000 - €30,000
Ernst, Max. Ohne Titel. Farbige Kaltnadelradierung auf leichtem Karton. Im der Platte links unten monogrammiert. 1919. Plattenmaße: 20,1 x 17,9 cm. Blattmaße: 38 x 28,2 cm. Spies-Leppien 8 A (nennt nur 5 bekannte Exemplare in Blau und ein Exemplar in Braun). - Äußerst seltene und sehr frühe Graphik (seine erste Radierung) des Surrealisten Max Ernst (1891-1976), aus dem gleichen Jahr als er 1919 zusammen mit Johannes Baargeld und Hans Arp die Kölner Dada-Gruppe gründete. 1922 übersiedelte er nach Paris, wo er sich dem Kreis der Surrealisten um André Breton anschloss. - Ränder teils etwas unregelmäßig beschnitten, gebräunt und leicht fleckig bzw. angestaubt, leicht randknickspurig. - Provenienz: Privatsammlung Rheinland.
Nosbüsch & Stucke GmbH
Apr. 04, 2024
Max ERNST 1891-1976 Deux enfants - 1924
Est: €3,000 - €5,000
Max ERNST Deux enfants - 1924 Crayon sur papier h:22.0 CM, d:16.5 CM Description : Signé en bas à droite "max ernst" Bibliographie : Cette oeuvre sera incluse au supplément du catalogue raisonné de Max Ernst actuellement en préparation par Messieurs Werner Spies, Sigrid Metken et Jürgen Pech.
Artcurial
Apr. 18, 2023
Max Ernst: Untitled
Est: €1,000 - €2,000
Max Ernst Untitled 1911 colour linocut on paper; framed 12 x 13 cm (depiction size), 22 x 20.5 cm (sheet size) signed on the lower right: Max Ernst print from 1st state private property, Vienna Werner Spies (ed.)/Helmut Leppien, Max Ernst Oeuvre Katalog. Das grafische Werk, vol. 2, Werke 1906-1925, Cologne 1975, cat.-no. 2 (b/w-ill.), p. 2
Im Kinsky
Mar. 17, 2022
CLART, Max Ernst (1916-?)
Est: €200 - €300
CLART, Max Ernst (1916-?) " Le port dans la ville, Honfleur" Huile sur panneau signée en bas à gauche , titrée et cachet de l'artiste au dos. H : 50 cm L : 40 cm
Legia-Auction
Mar. 17, 2022
CLART, Max Ernst (1916-?)
Est: €200 - €300
CLART, Max Ernst (1916-?) " Paysage industriel" Huile sur panneau signée en bas à gauche." H : 40 cm L : 50 cm
Legia-Auction
Jun. 17, 2021
Max Ernst, Mer agitée, soleil, nuage et maître Corbeau avec son fils, 1953
Est: €500,000 - €700,000
Signed and dated 'max ernst/53' in grey lower right as well as verso signed, dated, and titled 'mer agitée, soleil, nuage et maître corbeau avec son fils max ernst /53'. “1906. The Vogelobre Hornebom. A friend by the name of Hornebom, a clever and loyal bird with bright spots dies in the night; a child, the sixth in order, enters life in the same night, chaos in the brain of the otherwise so healthy boy. A kind of interpretive mania, as if the innocence just born, sister Loni, had appropriated the vital fluids of the dear bird in her lust for life. This crisis is soon withstood. However, a voluntarily irrational ideational amalgamation of people with birds and other creatures remains in the boy's fantasy, and this is reflected once more in the emblems of his art,” writes Max Ernst in his biographical notes (cited in: Exh. cat. Max Ernst, Wallraf-Richartz-Museum Cologne/Kunsthaus Zurich 1962/1963, p. 23). This museum-quality painting created by Max Ernst in 1953 is formally consistent with his sea-star pictures. However, in its surreal qualities, it goes far beyond their modes of representation. In 1931 the artist had already recurred back to the medium of collage in his landscapes by arranging (sometimes painted) fragments of old wallpaper and providing his pictures with a plausible or fantastic title. This is also the case in our picture: in the oscillation between immobility and movement, viewers can recognise surging waves in the two strips of wallpaper. A cool freshness is suggested by the glittering sea, with its linearly organic acanthus ornamentation consisting of somewhat obliquely collaged pieces of wallpaper and a clear triad of blue, light blue and white. The sun, which dominates the sky and is not entirely painted in at one point, is covered by a smaller, three-dimensional-looking “cloud”. For this element of the composition, Max Ernst has used a collaged circle cut from a patterned wallpaper that permits associations with a cloud. According to the title, it is “Master Crow with his son” who float in the sky. The heads of the birds were created with the help of drawing stencils. In Ernst's vision, these already had the shape of a bird's head. He positioned them in the picture, traced around them and completed two birds' heads with a white and a black dot. Also a master of his picture's titles, the artist indirectly alludes to Jean de La Fontaine's fable “Le Corbeau et le renard” here, thus expanding the complex materiality of collage through a poetic dimension. Nature, cosmos, stars, birds, forests and the sea are central themes that also remained present in Max Ernst's work after he returned to France. Initial depictions of the landscape, horizon and sun can be found in the mid-1920s, where they are identifiable leitmotifs in the form of romantic and easily recognised pictorial motifs between more enigmatic compositions. Ernst's central phase of work in France began after his return from the US. In 1953 he created art historically important works that are remarkable and diverse in terms of technique, including “Vater Rhein” (Spies/Metken 3007), “Heuschreckenlied an den Mond” (Spies/Metken 3029) and the present work (Spies/Metken 3025). From 1953, after the artist had been able to purchase a bundle of old wallpapers from a defunct department store, he once again dedicated his attention to the sea-star collages, continuously elaborating upon the technique of collage and oil painting on canvas that he had initiated in the 1930s. With his early collage novels and the collage pictures mentioned here, Ernst created pioneering works that were seminal for the art of the 20th century, and they continued to influence central positions in postwar art, such as pop art. “Mer agitée, soleil, nuage et maître Corbeau avec son fils” was created immediately after Max Ernst returned to France. Recurring back to the 1930s, it embodies the defining aspect of linking together his artistic leitmotifs on many different levels. This picture's laconic allusion to Jean de La Fontaine's fable “Le Corbeau et le renard”, through which the artist surrealistically and ironically deals with the theme of fathers and sons, is characteristic and typical. The appearance of Ernst's emblematic alter ego of the anthropomorphic avian creature - “Vogelobrer Hornebom”, “Schnabelmax” and “Loplop” - allows us to recognise a complex, self-reflexive aspect and is not without humour. Within this context, the picture points not just to the transcendental dimensions of nature and the cosmos, but also to that enigmatic amalgam of intellect, mythology and personal biography which makes Max Ernst one of the most multifaceted fine artists who shaped the 20th century. The fact that, throughout his life, the artist retained this work within the immediate surroundings in which he lived speaks for itself. Afterwards it was donated by his widow Dorothea Tanning to a family member.
Kunsthaus Lempertz KG
May. 31, 2021
MAX ERNST (1881-1976) - Fleurs coquillages, 1960.
Est: €500 - €700
MAX ERNST (1881-1976) Fleurs coquillages, 1960. Lithographie en couleurs sur Arches. Signée. Bon à tirer. Kleurenlithografie op Arches. Gesigneerd. Goed om af te drukken. 57,5 x 54,3 cm
Cornette de Saint-Cyr-Bruxelles
Dec. 17, 2020
MAX ERNST CLART (1916-1995): 'LA BAIGNEUSE SOLITAIRE', OIL ON CANVAS, DATED (19)68
Est: €300 - €600
Work: 130 x 90,8 cm Frame: 151,7 x 112,3 cm The reverse with three stamps of the artist (canvas, chassis and frame) and the old price label (160.000 BEF (€4.000)).
Coronari Auctions
Sep. 04, 2020
Max Ernst - Mur et Soleil
Est: CHF1,100 - CHF1,300
Max Ernst - Mur et Soleil Sérigraphie & lithographie originale sur papier Signée au crayon et numérotée 26 / 100 ex Éditeur : Galerie Kornfeld, Bern, 1970 Portfolio : Kunst Fur Forschung Très bon état 72 x 53 cm Original silkscreen & lithograph on paper Hand signed & numbered 26 / 100 ex Editor: Galerie Kornfeld, Bern, 1970 Portfolio : Kunst Fur Forschung Very good condition 72 x 53 cm
TGP Auction
Jul. 19, 2020
Max Ernst - Mur et Soleil
Est: CHF1,100 - CHF1,300
Max Ernst - Mur et Soleil Sérigraphie & lithographie originale sur papier Signée au crayon et numérotée 26 / 100 ex Éditeur : Galerie Kornfeld, Bern, 1970 Portfolio : Kunst Fur Forschung Très bon état 72 x 53 cm Original silkscreen & lithograph on paper Hand signed & numbered 26 / 100 ex Editor: Galerie Kornfeld, Bern, 1970 Portfolio : Kunst Fur Forschung Very good condition 72 x 53 cm
TGP Auction
Jun. 30, 2020
Max Ernst - Mur et Soleil
Est: CHF1,100 - CHF1,300
Max Ernst - Mur et Soleil Sérigraphie & lithographie originale sur papier Signée au crayon et numérotée 26 / 100 ex Éditeur : Galerie Kornfeld, Bern, 1970 Portfolio : Kunst Fur Forschung Très bon état 72 x 53 cm Original silkscreen & lithograph on paper Hand signed & numbered 26 / 100 ex Editor: Galerie Kornfeld, Bern, 1970 Portfolio : Kunst Fur Forschung Very good condition 72 x 53 cm
TGP Auction
Feb. 27, 2019
MAX ERNST | Susanna und die Alten (Susanna and the Elders)
Est: £150,000 - £200,000
oil on canvas
Sotheby's
Apr. 26, 2018
MAX ERNST | Fiat modes pereat ars (Spies & Leppien 7)
Est: $80,000 - $120,000
The portfolio comprising eight lithographs, 1919, one of only a few known examples of this rare portfolio, seven sheets monogrammed 'mE' in pencil on the versos, also signed in ink on the blue title label, on wove paper (8 prints)
Sotheby's
Dec. 02, 2010
Ernst, Max1891 Brühl - 1976 Paris Nocturne.
Est: - €1,000
Ernst, Max 1891 Brühl - 1976 Paris Nocturne. 1973. Colour serigraph on Rives. 33,5 x 24,7cm (51,2 x 41,2cm). Number 31 of an edition of 96. Signed and numbered. Manus presse, Stuttgart (Ed.). Framed. Remains of former mounting along all margins and fingerprint on verso. Cat.rais. Spies/Leppien, No. A 44 A Provenance: Galerie Pohlkötter, Münster.
Van Ham Kunstauktionen
Dec. 02, 2010
Ernst, Max1891 Brühl - 1976 Paris Affiche pour déchets d'atelier.
Est: - €800
Ernst, Max 1891 Brühl - 1976 Paris Affiche pour déchets d'atelier. 1968. Colour photo lithograph on vellum. 47 x 39cm (65 x 47cm). Number 107 of an edition of 150. Signed and numbered. Galerie Alphonse Chave, Vence (Ed.). Framed. Cat.rais. Spies/Leppin, No. A16A. Numbered edition without lettering. - Minor light staining. Very pale light-edge.
Van Ham Kunstauktionen
Dec. 02, 2010
Ernst, Max1891 Brühl - 1976 Paris To: Pierre Hebey, Festin (IV).
Est: €2,000 - €2,500
Ernst, Max 1891 Brühl - 1976 Paris To: Pierre Hebey, Festin (IV). 1974. Colour lithograph on arches. 33,6 x 25,5cm (47 x 35cm). Essai. Signed and denoted. Pierre Chave, Vence (Ed.). Craftman's frame. Cat.rais. Spies/Leppin, no. 249, sheet IV. Trial proof before the edition of 79 signed and numbered exemplares (cat.rais.-no. 249A). - Very soft paper abrasion in the upper marginal area. Verso mounted on the upper corners.
Van Ham Kunstauktionen
Dec. 02, 2010
Ernst, Max1891 Brühl - 1976 Paris To: Robert Lebel, L'Oiseau caramel.
Est: €1,600 - €1,800
Ernst, Max 1891 Brühl - 1976 Paris To: Robert Lebel, L'Oiseau caramel. 1969. Colour lithograph on Arches (watermark). 34 x 24,3cm (39,5 x 29,2cm). Number 90 of an edition of 150. Signed and numbered. Le Soleil Noir, Paris (Ed.). Craftman's frame. Cat.rais. Spies/Leppien, A 20a. Printed in one colour: blue. - On verso mounted in the corners. Otherwise in very good condition.
Van Ham Kunstauktionen
Dec. 02, 2010
Ernst, Max1891 Brühl - 1976 Paris La Vase de Lyon.
Est: €130,000 - €150,000
Ernst, Max 1891 Brühl - 1976 Paris La Vase de Lyon. 1972. Oil on material collage. Canvas. Laid down on carboard. 50 x 39,8cm. Framed. The work will be included in the forthcoming catalogue raisonné by Luciano Anselmino and Günter Metken. Provenance: Galerie Iolas, Milan Galleria Il Fauno, Milan (gallery label) Private collection, Italy Private collection, Belgium Private collection, Rhineland In the early 20th century, the autodidact Max Ernst modernised the pictorial language of painting in a revolutionary way. Strongly rooted in Dadaism and Surrealism, he didn't only come up with completely new pictorial and fantasy worlds, but also developped many differnt new techniques as for instance frottage and grattage always questioning the artists role as a creator - not very surprising for an artist who succeeded without academy training. It is also his use of collage that reveals his opinion as to the artist's position. As one of the first artists of his time, he created an impressive number of works in which he cuts out different material, rearranges and glues it together. Thus he questions in how far an artist is really the creator of a work of art. Max Ernst attributes a particular ability of seeing and perceiving to the artist. In his opinion it's not a perfect technique that makes a good artist but his special talent of seeing something and making it visible in whatever way.
Van Ham Kunstauktionen
Sep. 17, 2009
Max Ernst
Est: £100,000 - £150,000
Max Ernst Fiat modes pereat ars (Spies & Leppien 7) the portfolio comprising seven lithographs, 1919, lacking one plate from the set of eight and the title page, one of only two known trial proof sets of this extremely rare portfolio, with the original red cardboard portfolio with the blue label of the ABC-Verlag, signed Max Ernst * in black ink on the label, the lithographs on brownish-yellow wove paper, each monogrammed m E in pencil on the reverse, the full sheets, plate I with a partially broken diagonal crease across the lower left corner, plate II with an old, skilfully repaired tear at the upper sheet edge, some other shorter tears and tiny paper losses to some of the plates, generally in very condition; the cardboard portfolio faded and worn, the label rubbed, with an old, inscribed paper wrapper (portfolio) L., S. 438 x 320 mm. (each)
Christie's
Dec. 13, 2007
f - Max Ernst , 1891-1976 MASQUE SUR MUR EXTÉRIEUR bronze
Est: €20,000 - €30,000
Conçu en ciment en 1948 et fondu en bronze en six exemplaires par la Modern Art Foundry, New York; cette épreuve est fondue en 1991. inscrit Max Ernst, daté 48 , et numéroté 4/VI sur le socle, avec le cachet du fondeur MA CAST 91 et inscrit K sur le dessous bronze
Sotheby's